THE RAVEN RING
A Lyra Novel
Patricia C. Wrede
CONTENTS
Introduction to the Lyra Series
Prologue
One
Two
Three
Four
Five
Six
Seven
Eight
Nine
Ten
Eleven
Twelve
Thirteen
Fourteen
Fifteen
Sixteen
Seventeen
Eighteen
Nineteen
Twenty
Twenty-one
Twenty-two
Twenty-three
Twenty-four
Twenty-five
Twenty-six
Twenty-seven
Twenty-eight
Twenty-nine
A Biography of Patricia C. Wrede
Introduction to the Lyra Series
THE LYRA SERIES IS DEAR TO MY HEART, partly because it was the first imaginary world I created for my novels and partly because it includes the first two novels I ever wrote, Shadow Magic and Daughter of Witches. I learned an enormous amount from writing those books.
I also learned a great deal from running Daughter of Witches through my very first critique group, the Scribblies. I was several chapters into the first draft when we started the group in 1980, so it was the first thing I submitted for comment, a chapter or two at a time. Shadow Magic had already been under submission to publishers for nearly two years. When it finally sold, I did run some of the revisions through the group, but I didn’t make any of the more drastic changes people suggested. I worried that I might turn the book into something the editor wouldn’t like; after all, she’d bought its original version. So I concentrated on the parts where the editor herself had requested changes (there were plenty) and left everything else pretty much alone.
Daughter of Witches was my first attempt at writing a single-character, tight third-person viewpoint, and I cussed my way through large portions of it as I tried to figure out how to get crucial information across to the reader when the viewpoint character wasn’t around for those scenes. By the time I finished it, I was more or less comfortable writing a tight viewpoint, and from then on it became very nearly my default.
I also chose to make Daughter of Witches an indirect sequel to Shadow Magic—that is, rather than continuing the adventures of the same set of characters, or even using a different set of people in the same region, I picked people who lived several thousand miles away, for whom the events that took place in Shadow Magic were, at most, distant and relatively unimportant or unrelated problems. I did this for three reasons. As a writer, I wanted to remind people that a world is an enormous place, especially when there aren’t phones or radios or TVs to quickly spread news and information. I also wanted to explore some themes and background events that just didn’t fit in the book I’d already written. A third, practical reason was that I’d started writing Daughter of Witches a good six months before Shadow Magic sold, and I had no guarantee that my first book would ever sell. I figured that nobody starts by buying Book #2 of a series, if Book #2 depends heavily on Book #1. But if I made my second book a related stand-alone, something that shared the background and world-building, but that didn’t actually need the first book to make sense, then even if Shadow Magic never sold, I could still market Daughter of Witches on its own.
Fortunately, Ace Books bought both titles, and was interested in more. The Harp of Imach Thyssel was my fifth book, and again, it was an indirect sequel, which set the pattern for the series. It was also the book that finally pushed me into quitting my day job to write fulltime. It was my first (and rather timid) experiment in writing multiple viewpoints—timid, because I didn’t quite have the nerve to do the kind of large, complex, braided storylines that really need a multiple-viewpoint structure. I ended up doing something more like a central storyline with sidebars, which worked well for the book, I think, but didn’t quite stretch me as a writer as I’d intended.
Next came Caught in Crystal, in which I tried to dig deeper into my main character and use flashback scenes for the first time. After the book was published, many readers asked if I’d actually written two novels and then cannibalized the first one for the flashback story in the second, so I guess the flashbacks were pretty convincing! The answer is no. I wrote Caught in Crystal as its own narrative; I hadn’t even used an earlier short story. The flashback sequences were written in order, as they came up during the present-day story. (“Present day” for this book was set roughly a thousand years prior to that of the first three Lyra titles, continuing the pattern of an indirect sequel.)
The last of the Lyra books (so far) is The Raven Ring, written over fifteen years ago. It fills in a little of the history between Caught in Crystal and the three other titles. I was trying to work from a careful outline, but I failed miserably; the story went off the rails in Chapter 7, when the main characters were attacked and one of them refused to just leave before the city guard got there. By the time they finished dealing with the cops, my heroine wasn’t about to leave town until she knew who was after her and why, which completely wrecked my plans for a chase-and-battles sequence as she and her friends made their way back to her mountain home. Instead, I ended up with a sort of medieval-urban fantasy.
I did work out the whole deck of Lyran fortune-telling picture cards at one point—all four suits, a set of Major Trumps and a set of Minor Trumps. (I really enjoyed making Taxes, one of the Minor Trumps.) Most of the cards never made it into the story, but I had a lot of fun figuring them all out.
About the same time as I was writing The Raven Ring, my publisher decided to reissue the first three Lyra books, and asked if I wanted to make any changes or edits. Daughter of Witches and The Harp of Imach Thyssel were in pretty good shape; I fixed a few awkward sentences, but that was about all. Shadow Magic was another story. The full manuscript had never been run through my critique group, and it showed. Furthermore, I felt that I’d finally learned enough craft to make it worth the time and effort to do a complete rewrite of my first novel. So I did, and I was much happier with the result.
Fast-forward a few years, to a mailing list in which a number of folks were discussing writing, editing, revising, and so on. One thing led to another, and I ended up sending the group a before-and-after version of the first chapter of Shadow Magic, so they could see what I meant when I talked about an extensive revision. A few years after that, I turned the before-and-after sample into a series of blog posts, showing the original text, my revisions, and my comments on what I’d revised and why.
When Open Road acquired the ebook rights, they asked me to edit the posts into an introduction to the Lyra series. Below is the latest version.
This is the first chapter of my first novel, Shadow Magic, which was first published in 1982 and then revised roughly ten years later for an omnibus edition. The strikeouts show words, phrases, and sentences that appeared in the original version but that I deleted on revision. The bold text indicates new phrases, and plain text shows what remained the same in both editions. My explanations of the changes appear in italics.
The caravan wound slowly through the woods along the riverbank and broke at last into the fields surrounding the city. Except for a few wooden shelters near the gates, the city itself was invisible behind massive walls. Not even the roof of a tower showed above the smooth grey stone.
Though they were now within sight of their goal, the dust-covered guards continued to ride restlessly up and down the long chain of wagons, watching field and forest narrowly for any sign of unusual activity. Travel here, at the western border of Alkyra, was relatively safe, but the Traders gen
erally preferred not to take chances.
When the last of the wagons had entered the city, the guards relaxed at last. Their far-flung riding pattern contracted into small eddies of motion between the lumbering wagons. The iron-rimmed wagon-wheels were noisy, and conversation was minimal. The horses seemed to find the stone pavement, rough as it was, an improvement over the deeply rutted dirt road outside the city, and it was not long before the caravan had reached the wide courtyard of the inn.
As the last wagon in the caravan rumbled into the courtyard of the Blue Heron Inn, Maurin Atuval allowed himself to relax. Theoretically, the safety of the trade goods had been the responsibility of the cargo masters since the wagons passed through the city gates of Brenn, and the other caravan guards had long since abandoned any pretense of patrol. Unlike his fellow guards, however, Maurin was himself a Trader, and could expect to share in the caravan’s profits—and losses. So he had continued to watch the wagons even after his duties were officially over.
As it stands, there’s nothing terribly wrong with the original opening—it’s a “zoom-in,” starting with a long view, slowly focusing down until we get to characters. But for an action-adventure that moves fast enough to have a kidnapping by the third chapter, it’s too slow. Also, in the original, we don’t get to an actual character until the end of the fifth paragraph, and the whole thing is in a sloppy omniscient viewpoint. So the original five paragraphs went, replaced by two that are a lot more specific and that have a specific viewpoint, that of Journeyman Trader Maurin Atuval.
The hypnotic rumble of the wagons gave way to a cheerful bustle of securing goods and stabling horses. Everyone took part, from the most exalted of the Master Traders to the lowliest apprentices. As each finished his appointed task, he went in search of friends or pleasure, depending on his inclination, and soon the courtyard began to empty.
Among those remaining was a tall, black-haired man in the utilitarian leather of a caravan guard, his skin tanned by the sun and wind of the trails to a deep bronze under its coating of grime. The uniform suited him well, and he carried himself with an easy confidence that proclaimed him a veteran despite his relative youth. He was checking the ropes securing one of the wagons when another man hailed him. “Maurin!”
The hired guards lined up near Master Goldar to receive their pay, while the Traders began the cheerful ritual of unloading and securing their goods. Maurin was hauling a bundle of white fox pelts to the storage room when someone tapped him on the shoulder from behind.
The dark-haired man at the wagon rope looked up. “Greetings, Har.” Har made a rude noise and looked at his friend with disfavor. Maurin turned his head to see who had accosted him. The two were of a height, but Har’s slight build, accentuated by It was a slender young man in the leather uniform of the caravan guards, made him appear smaller and younger than he was. An whose unruly shock of sandy brown hair made him look younger than Maurin knew him to be. added to the effect, and made the straight black brows and slightly tilted grey-green eyes more startling. “Har, what are you still doing here?” Maurin said. “I thought you would be away home by now.”
“I’ve been hunting all over for you,” Har said when Maurin made no response. “I invited you to visit when we got to Brenn; did you think I would forget? Haven’t you finished with that yet?”
The original description of Har is, again, not awful… but it stops the story dead in its tracks (and it hadn’t even really gotten going yet). I deleted most of it here, and stuck in references to the straight black eyebrows and green eyes later.
“I would have been, if I hadn’t had to stop and look for you,” Har said. “Here, give that to someone else. You’re done for the day.” He plucked the bundle of fox pelts from Maurin’s arms and set it on a nearby barrel.
“I’m just checking the knots,” Maurin replied. “Last stop we nearly lost three white fox pelts when the wind blew the canvas off, remember?”
Two things were wrong with this paragraph. First, the “remember?” was an obvious bit of maid-and-butler, as-you-know-Bob dialogue, something that the characters only say so that the readers can overhear and get clued in. And the event wasn’t particularly relevant to the plot, so why bother mentioning it? Second, “checking the knots” was the writer not thinking things through. Younger-writer-me had no clear idea what Maurin might be doing, and was impatient to get on with things, so she wrote down the first generic thing she imagined. Since the characters are unloading the wagons, though, checking the knots to make sure things don’t blow away doesn’t make much sense. If they’re unloading, Maurin should be, well, unloading stuff. So I changed the activity.
“You forget, I’m a Trader. I’m not done until Master Goldar says I am.”
Har grinned unrepentantly. “This is Brenn, remember?” he mimicked. “That can’t happen in town, and anyway the light stuff has all been unpacked. So won’t you come on?”
“I didn’t forget.” Har looked smug. “I’ve already checked with him, and you’re officially released. Unless, of course, you’ve changed your mind about accepting my family’s hospitality while you’re in Brenn.”
“A journeyman can’t leave the caravan without the permission of one of the Master Traders. You know that,” Maurin answered.
Maurin looked at his friend in consternation. “I never said… I mean, uh—”
“So let’s get it! They won’t deny it; there’s nothing more to do here.” As Maurin still hesitated, Har frowned. “I’m beginning to think you don’t want to come. I tell you, Maurin, you work too hard. Take the whole week and stay with us and relax for a change.” Har raised his straight black eyebrows. “What’s the matter? Isn’t the Noble House of Brenn up to your standards?”
“I don’t want Master Goldar to think I’m trying to curry favor,” Maurin admitted. “And what will your family think? “You’re not thinking,” Maurin said, letting his breath out in exasperation. “Look, it’s all right for nobles and journeymen to brush cloaks on a caravan trip, but your family isn’t going to appreciate you bringing home a mere journeyman. Even the Master Traders don’t visit stay with lords in town unless they’re invited.”
“Well, I invited you, didn’t I? That’s because they don’t get invited,” Har said. “They’d come fast enough if they were. And you don’t have to worry about my family; Mother won’t mind, and if she doesn’t, no one else will, either.”
“I’ll mind,” Maurin muttered, too low for Har to hear.
The original conversation was awkward and full of more maid-and-butler dialogue (a.k.a. “As you know, Bob”—people telling each other stuff they already know, for no good reason except to let the reader in on it). The revised version contains the critical bits (the invitation, the need for Goldar’s permission, Maurin’s reluctance) in other ways. The only remnant of maid-and-butler is the “You forget, I’m a Trader…” line, which is both in character and salvaged by the following line, “I didn‘t forget…” And in general it reads a lot more smoothly.
“There’s still Master Goldar.”
“Fear not, my friend,” Har said, striking a theatrical pose. “We shall yet win for you the freedom of the city, overcoming all objections of…” His speech was abruptly stifled by a heavy wool horse-blanket, thrown accurately over his head by the friend he was addressing. Har emerged a moment later, grinning broadly.
“At least there’s one good thing about being heir to a Noble House,” Har said as the two set off in search of the Master Trader. “I know more about protocol and persuasion than just about anybody. We won’t have any trouble with Master Goldar; you’ll see.”
Whether because of Har’s vaunted diplomatic talents or for some reason of his own, the caravan master not only released the journeyman for the week, but went so far as to give him the freedom of the town for the entire month of the caravan’s stay in Brenn. The two guards set off, with Har making much of his own skill in achieving such a desirable result. Maurin pointedly ignored him until he changed the subjec
t. By that time, the two had reached the wide avenue that led straight from the western gate of Brenn to the large stone building in the center of town. They turned away from the gates, and Har darted a sharp look at his friend.
“Now what are you shaking your head about?” he asked.
“That,” Maurin said, waving toward the building in front of them. Even from this distance, Styr Tel loomed above the jumble of homes and shops and inns. It bore little resemblance to the ornate palaces and castles of Alkyran nobles in other cities.
“What’s wrong with it?” Har demanded. “Hurry up; I don’t want them to find out the caravan’s in before I get there.” Har started toward Styr Tel. Finding no adequate reply, Maurin followed.
The entire business above really didn’t move things forward. It made sense that Maurin needed permission from the caravan master, but it wasn’t necessary to spend this many words on it. In the revised version, it was all covered by Har’s comment that he’s already arranged everything. Half a line instead of seven paragraphs.
It was obvious that the young nobleman meant to have his way, however uncomfortable it might make everyone else. And he was right about one thing: Master Goldar would never forgive Maurin if he turned down the opportunity to make a good connection with even a minor Noble House. Maurin resigned himself to a few days of awkward formality, and allowed Har to lead him away.
The above paragraph is part of changing the viewpoint from sloppy omniscient to tight third-person, which is why it’s entirely new. Maurin’s reactions were, in the original, supposed to be implied by the dialogue, but this is a whole lot clearer and gives the scene a consistent personal viewpoint.
The street was full of the cheerfully miscellaneous crowd of a trade city. At this hour, the streets were full. Peasants, guildsmen, merchants, and Traders jostled visitors and townsfolk alike. A man from Rathane in gaudy robes walked past the deadly, black-clad figure of an assassin from beyond the Mountains of Morravik. Three dark-skinned desert people bargained in loud voices with a man who spoke with the accent of Ciaron whose accent was Ciaronese. And everywhere there were men in soldiers’ dress. Some, like Har and Maurin, wore the leather of caravan guards, but many were dressed in the colors of the city. Several times Har and Maurin had to stop and wait while a band of soldiers marched by.
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